[与孩子一起读名画] 《喂食》

瑜珈

瑜珈

作者：法国画家　让·弗朗索瓦·米勒 Jean-Francois Millet  　时间：1872年；　巴黎卢浮宫

画作英文标题：　FEEDING HER BIRDS

欣赏读画，与孩子讨论以下问题，引导兴趣：

What do you see in this picture? 　在这幅画里你看到了什么？

What are the children doing? 　孩子们在做什么？

Where do they live? 他们住在哪里？

On what are they sitting? 他们坐在哪里？

Whom can you see behind the house? What is he doing?　在房子后面，你看到谁？他在干什么？

What do you think the children were doing before their mother called them? why?　你觉得在妈妈叫孩子们之前，他们在干什么？为什么？

What does the hen expect? 　看那只母鸡也朝这边走过来，它想要什么？

What else do you see in the picture? 　你还从画中看到什么？

What time of day do you think it is? 　你觉得现在是什么一天当中的什么时候？早上、中午、下午、晚上？


Why is this picture called "Feeding Her Birds"? How many like it? why?
为什么画的题目叫“喂她的小鸟们”？有哪些方面相象呢？为什么？

瑜珈

[转文]　画家介绍：


让·弗朗索瓦·米勒Jean-Francois Millet (1814-1875年) 是19世纪法国杰出现实主义画家，以描绘农村主题见长，他创作的作品以描绘农民的劳动和生活为主，具有浓郁的农村生活气息。米勒出生于诺曼底的一个农民家庭，在瑟堡接受了最早的艺术启蒙教育。1873年，他来到巴黎，受教于德拉罗什画室，并在卢浮宫研究学习历代大师的作品。1848年，他的作品《簸谷者》在沙龙展出。1849年，他定居于巴黎东南郊外的巴比松农村。在以后的27年里，他创作了一系列以农民的生活和劳动为主题的作品。代表作品有：《播种者》、《拾穗者》、《晚钟》、《喂食》、《慈母的爱》、《倚锄的人》、《牧羊女》等。

19世纪的法国，社会动荡不安，政权更替，战争频繁，都市化与工业革命带来许多社会问题。米莱在巴黎生活了十一年，亲历了城市生活的贫困，社会的动荡不安和战争的残酷。1849年，他决定终生定居于巴比松乡村。从而开始了他伟大的农村系列画创作。

米莱在“巴比松画派”中具有深远的影响力。他的艺术语言承继了西方艺术的传统，尤其受曼特尼亚、普桑和米开朗基罗的影响甚大。其画风凝重质朴，造型简约。他用新鲜的眼光去观察自然，反对当时学院派一些人认为高贵的绘画必须表现高贵人物的错误观念。

在那样一个动荡不安，充满血腥的时代里，却产生了《晚钟》这样静谧安宁的超世佳作，堪称奇迹:暮色笼罩着一望无际的苍茫大地，何等庄严，何等肃穆，不禁令人对造物主的伟大油然产生敬意。一对农家夫妇随着教堂钟声的敲响，放下手中的活计，以感恩的心在傍晚的微风中悄然伫立，以敬虔的祈祷结束一天的劳作。他们虽然卑微，却不失尊严，以天上国民的身份祈盼另一永恒和平的国度，而对天国的盼望也深藏在画家本人的心中。只有在这样的盼望中忍耐苦难，苦难才显得甘美，心灵才寻得平安。也正是这种内在的平安带来的恒忍力量，使得人们在动乱的社会中仍持有生存的勇气和智慧。毫无疑问，《晚钟》这幅画的灵感源自于《圣经》的启示，同时也是取材于米莱对现实生活的体验。米莱经常阅读他称为“画家之书”的《圣经》。难怪，列夫·托尔斯泰评价米莱的《晚钟》：“透露了基督徒对上帝和邻人的恩爱之情”，表现了“人和上帝以及人们相互之间的团结和睦”。

米勒的生活很困苦，他曾一度贫困到必须靠政府的微薄救济品度日的程度，也曾几天不进食，为了把食物省给孩子。了解这些背景后，我们就更能读懂《喂食》(1860年)、《慈母的爱》(1857年)、《编织课》(1868年)等作品所洋溢的诗意和欢乐是如何来之不易。

米莱的作品完全不合乎当代巴黎城市文明的欣赏趣味。他的作品中，却有众多引人注目的妇女形象。特别值得一提的是，这些妇女往往被置于一个劳动的场景中。她们总是以女主人的身份，带着手头上正干着的活儿出现在画面上，或劈柴、挑水，或牧放牛羊，或编织手工……没有坦露的粉色肌肤，没有矫饰的欢颜，却十分真实感人。她们的出现常常使画面充满温馨有序的家庭气氛。在这些作品中，《雏菊》是最富有诗意的。典雅的构图完美而独特；简陋的农舍里有一扇打开的窗子，一束怒放的雏菊插在造型古朴的蓝色粗瓷花盆里。窗台上零散地摆放着针线和剪刀，使得构图更有变化。乍一看，分明是一幅静物画，仔细看，才发现有一个少女藏在雏菊后面的阴影里，正向窗外悄悄张望，嘴角含着平和、安宁的微笑。菊花和少女相互映衬，色调非常优雅，和谐，让人联想到柯罗的一些风景画，尤其是蓝绿色与橙黄色的过渡与交织格外柔和而舒心。

米勒的作品感人质朴，他的艺术世界里有我们失落的某种东西。米莱说“艺术的使命是一种爱的使命”,也许这便是米莱艺术的精髓。

瑜珈

更多问题帮助孩子理解画：　

In what country did these children live? In what kind of house did they live?
What grew up beside the door?
What did their father do for a living?
Upon what is the mother sitting? What kind of a spoon has she in her hand? What is in it, and in the bowl in her lap?
What makes you think the children are hungry? Which one is fed first? Which one will probably wait until the last? why?
How are the children dressed? What kind of shoes have they? Have you ever seen wooden shoes?
How is the mother dressed?
What makes you think it must be a cool day? What do the shadows tell us of the time of day?
What game did these children like to play? What did they have to play with?
Who made their toys and clothes?
What did they do when their mother called them?
What makes you think they were happy children?

小水牛

谢谢推荐
从没有关注过艺术熏陶，今天晚上让孩子看看，艺术情操的培养从小抓起

瑜珈

进一步的解说。因为资料是英文的，先贴上来，有时间的话做下简单的翻译，或者有兴趣的家长按楼层领任务翻译。
The story of the picture

In a tiny white cottage in a little village in France, lived a painter with his wife and nine children. This painter's name was Jean François Millet, and although quite poor his was a very happy family. Nearly every morning the father worked hard in his garden behind the house, and every afternoon in a queer little old room he called his studio. Here he painted beautiful pictures of places and people he saw and loved. Almost all of his pictures are of the country and of people who worked, because he knew most about them and because he loved them best.

Sometimes he finished his work in the garden very early, and then he was glad, for he liked better to paint than to do anything else in the world.

One day when he looked out through the window of his studio he saw a much prettier picture than the one he was painting. He saw three of his children sitting in a row on the doorstep, while the mother fed broth to each of them in turn from a wooden spoon. As they crowded close together they reminded him of some little birds he had been watching that morning. You know how little birds open their bills and crowd toward the edge of the nest when the mother bird feeds them? Millet thought he would paint this picture, and name it "Feeding Her Birds."

See how the mother tips forward on the stool as she bends toward the three children. That is a wooden spoon she holds in her hand, and it is full of hot broth from the bowl in her lap. The children seem to be very hungry. No doubt they have been playing hard all the morning.

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It is easy to see with what the little girl at the left-hand side of the picture has been playing. She holds her wooden doll very close, and loves it just as much as if it were china and had real hair as your own doll has. She is the eldest of the children, and you can see she is unselfish because she sits patiently by while her baby brother and little sister get the first taste of the delicious broth.

The boy and the younger girl must have been playing with the basket and cart you see in the picture, for the basket is overturned as if it had been dropped in a hurry when the mother came to the door with the broth. Now the playthings are quite forgotten.

The boy opens his mouth wide as he leans forward for the first taste, while the little sister puts her arm around him to hold him steady. As she watches him, she opens her mouth, too.

See the hen running toward them! She thinks there will surely be something for her to eat, too.

The three children wear long aprons all alike, and the queer wooden shoes that the peasants always wore in those days. What a clatter those wooden shoes must have made even when the children played in the yard! And what a noise they made on the wooden floors in the house unless the children walked very carefully!

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The girls wear bonnets tied with string, while the boy has a cap that looks very much like a tam-o'-shanter, except that it, too, is tied under his chin. The mother wears a handkerchief on her head and another round her neck. Her dress looks thick and warm, and so do the children's dresses. It must be a cool day, for even the doll is wrapped in a shawl.

The man behind the house is working busily in the garden. Millet must have thought of himself when he painted this man, for, like the father bird, he must work hard to get enough food for his family. Sometimes there was very little, and the bread had to be divided into such tiny pieces that the children were still hungry when they had eaten their share.

We know it must be about noon because the shadows in the picture are so short. What a nice big yard these children had to play in, and what good times they must have had playing all kinds of games! They had lived in the city of Paris several years and for that reason, no doubt, they liked to play "keeping store" best of all. They gathered acorns, stones, and flowers, and placed them on a big wooden box for a counter. Then they took turns being storekeeper.

Perhaps to-day it had been the boy's turn, and he had stood behind the counter ready to sell his goods. The younger girl had come first, carrying a basket. Probably they called the stones oranges or apples, and, judging by the overturned basket, the little girl must have bought at least a dozen. Next had come the little mother, with her doll baby riding in the cart. This cart is hardly large enough for the doll and so it had to be guided very carefully to keep dolly from falling out.

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When the mother called, the elder of the two girls had caught up her doll quickly, leaving the cart behind; the younger sister had tossed her basket of oranges away in glee, while the boy forgot all about his store at the thought of the hot broth they were to have.

The high doorway of this little one-story, whitewashed house of plaster and stones is just wide enough for the three children to sit one beside the other. That great vine growing up beside the door is probably an ivy vine, for we are told that the little white cottage is still standing and is completely covered with ivy.

Everything you see in the picture is home-made,—the clothes, the doll, the spoon, the cart, the basket, and even the milking stool upon which the mother is seated.

Sitting there in the bright sunlight, these round-faced, happy little children will soon finish their broth; then they will be ready to begin the "store-keeping" game again.

爱睿02

瑜珈 发表于 2013-10-23 11:33
[转文]　画家介绍：

感动啊，赶紧找一下这些画作来欣赏，接受美的洗礼。
                    《雏菊》